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Second Biennial International Conference on Twentieth-Century Music
London, June/July 2001


SECOND BIENNIAL INTERNATIONAL CONFERENCE ON TWENTIETH-CENTURY MUSIC

Goldsmiths College, University of London
Thursday 28 June -- Sunday 1 July 2001


Programme as of 10 May 2001


THURSDAY 28 JUNE

14.30 - 16.15

EXILE AND SUPPRESSED MUSIC
o Erik Levi, 'Against the Blood and Soil of the Country: the Nazi suppression of
	modernism in Germany'
o Ales Brezina, 'The Two Totalitarian Regimes We Are Living In Between: Bohuslav
	Martinu, a Czech composer who died in Switzerland as an American citizen'
o Matthias Wurz, 'Georg Tintner and Vitezslava Kapralova, Composers in Exile: two
	case studies'

BRITISH MUSIC
o George Mowat-Brown, 'Modes of Expression: Sir Peter Maxwell Davies's problem or
	ours? '
o David Crilly, 'Britten's Strategy of Intertextual Subversion'
o David Clarke, 'Reclaiming Metaphysics: Tippett, Adorno and The Vision of Saint
	Augustine'

17.00 - 18.30

KEYNOTE LECTURE: Brian Ferneyhough, 'Barbarians at the Gates'

19.00 - 21.00

CONFERENCE DINNER

FRIDAY 29 JUNE

9.00 - 10.45

GYÖRGY LIGETI
o Jane Piper Clendinning, 'Ligeti's Drei Phantasien nach Friedrich Hölderlin
	(1982): integration and consolidation on the way to his "late style" ' 
o John Cuciurean, 'Allusion, Intertextuality and Historical Influences in
	Ligeti's Etudes pour piano'
o Charles Wilson, 'How One Remains Lonely: stylistic pluralism and the composer'

ENGLISH EXPERIMENTAL MUSIC
o Virginia Anderson, '" If the Root be in Confusion": the nexus of art and
	organisation in British Experimental Music'
o Tania Chen, 'Chance, Choice and Contingency in Cornelius Cardew's Memories of
	You'
o Christopher Hobbs, 'No One May Ever Have the Same Knowledge Again'

11.15 - 13.00

NOTATION AND PERFORMANCE ISSUES
o Damjana Bratuz, 'The Aboriginal Sound-Spectrum in Bartók's Piano Music'
o Bryn Harrison, 'Notation as a Window to Compositional Practice'
o John Tilbury, 'Feldman and the Piano: the art of touch and celebration of
	contingency'

MESSIAEN, BARRAQUE, HOPKINS AND GAY DARMSTADT
o Christopher Dingle, 'Harmonic Transfiguration: the evolution of Messiaen's
	approach to tonality, colour and self-analysis'
o Nicolas Hodges, 'Jean Barraqué and Bill Hopkins: composers analysing composers
	(analysing composers) '
o Paul Attinello and David Osmond-Smith, 'Gay Darmstadt: flamboyance and rigour at
	the Summer Courses for New Music'

14.15 - 16.00

PERFORMANCE PRACTICE IN 20TH-CENTURY MUSIC
o Mieko Kanno, 'Concepts of Rhythm in the Performance Practice of Twentieth-
	Century Music'
o Ian Pace, 'Reassessing Unconscious Conventions: an examination of the techniques
	and aesthetics implicit in the performance of contemporary music'
o Roger Heaton, 'Notation and Interpretative Licence: two case studies by Skempton
	and Bryars'

WEBERN AND DALLAPICCOLA
o Catherine Nolan, 'The Shifting Terrain of Webern Analysis in the Twentieth
	Century: Implications for the future of Webern scholarship'
o Lee Tsang, 'Webern's Verwandlung: organicism and anacrusis in Opus 10, No. 2'
o Brian Alegant, 'Rethinking Dallapiccola's Harmonic Language'

16.30 - 18.00

ROUND TABLE: PERFORMANCE ISSUES
Roger Heaton, Mieko Kanno, Ian Pace, Eddie Prévost, John Tilbury

19.30 - 21.30

CONCERT
Sebastian Lexer and John Tilbury (live electronics improvisation)
Ferneyhough, Opus Contra Naturam (London premiere), Bryars, Scelsi, Skempton,
Bryars (Ian Pace, piano; Roger Heaton, clarinet; Mieko Kanno, viola)

SATURDAY 30 JUNE

9.00 - 10.45

JOHN CAGE
o Martin Dixon, 'Deleuze's John Cage'
o David Patterson, 'Modern Music/ Modern Dance: Cage without Cunningham, 1940-
	1954'
o Daryl Runswick, 'John Cage, Four Solos for Voice: a contradiction'

JAZZ
o Matthew Santa, 'Voice Leading in the Music of John Coltrane'
o Catherine Parsonage, 'The Evolving Image of Jazz in Britain in Sheet Music'
o Patrick Sutardjo, 'The Music of John Zorn and Schizoanalysis'

11.15 - 13.00

THE LEGACY OF CAGE
o Brett Boutwell, 'Vertical Translations: the role of visual metaphor in Morton
	Feldman's compositional aesthetic'
o Christopher Fox, 'Cage and the Darmstadt School: responses to the aesthetic
	challenge offered by Cage in the music and writings of Nono and
	Stockhausen'
o Jonathan Kramer, 'Postmodernism and the Music of John Cage'

ROCK MUSIC
o Guy Capuzzo, 'Rotation as a Model for Rock Chord Progressions'
o Benjamin Broening, 'Intertextualilty, Ontology, Sound and Embedded Reference in
	Beck's "Where It's At"'
o Kevin Holm-Hudson, 'Intertextuality and Cultural Identity in the Music of
Magma'

14.30 - 16.00

ROUND TABLE: WRITING THE RECENT PAST

William Brooks, Nicholas Cook, Mark Delaere, Jennifer Doctor, Dai Griffiths;
chair Arnold Whittall

16.30 - 18.00

KEYNOTE LECTURE: Richard Middleton, 'Popular Music Studies: a Difference that
	Makes a Difference'

19.30 - 20.30

CONCERT
Cage, Three Walks, a Londonese Circus on Dark Lanthorns (director, John Lely)

SUNDAY 1 JULY

9.00 - 10.45

XENAKIS AND KURTÁG
o James Harley, 'Creation ex nihilo? A discussion of self-quotation in the music
	of Xenakis'
o Timothy Johnson, 'Does Size Matter? Kurtág's Játékok miniatures'
o Beate Perrey, 'Eyes Talked Into Blindness: Kurtág's Hölderlin-Gesänge'

NEW PERSPECTIVES ON 20TH-CENTURY MUSIC
o Maureen Carr, 'The Artistic Collaboration Between Igor Stravinsky and Charles-
	Ferdinand Ramuz for Histoire du Soldat (1918) '
o Anna Sofie Christiansen, 'Mechanical Music in Weimar Germany: "Absolute
	Musik" as performance paradigm'
o Andrew S. Granade, '" I Was a Bum Once Myself": the genesis of Harry Partch's
	U. S. Highball'

11.15 - 13.00
AMERICAN MINIMALISM
o Sabine Feisst, 'Minimalism and After: the sonic geography of John Luther Adams'
o Oliver Medlicott, 'Minimalism, Musicology and the End of History'
o Sumanth Gopinath, 'The Strange Career of Come Out: the problems of "race" in the
	reception of minimalism'
o Steen Kaagaard Nielsen, 'Concerning Chaka Khan in The Yellow Pages: analytical
	and aesthetic relections on Michael Torke's "opus 1" '

NEW DIRECTIONS
o John Dack, 'Theory from Technology'
o David Metzer, 'The Clash of Utopias: Stockhausen's Hymnen and Jean-Luc Godard's
	Alphaville'
o Morag Grant, '" A time in which occurrences can occur": the project 3 years -
	156 musical events - 1 sculpture in Berlin'




---------------------------------------------------------------------------------- SECOND BIENNIAL INTERNATIONAL CONFERENCE ON TWENTIETH CENTURY MUSIC Booking Form
Goldsmiths College, University of London, Thursday 28 June --– Sunday 1 July 2001 Personal Details Name: (Mr/Ms/Dr) ............................................................... Address: ....................................................................... ................................................................................ ....................................... Postcode: ............................. Telephone: ............................ e-mail: ................................ Early Bird Rates Total 1) Full conference package: full rate £225 / student rate £150 £....... (please delete as necessary) The full conference package includes: * Three nights bed and breakfast in a single en-suite room (Th., Fri. and Sat.) * • Lunch on Thursday, Friday, Saturday and Sunday * • Conference Dinner on Thursday night * • Dinner on Friday and Saturday * • Morning and afternoon refreshments * • All concerts * • Delegate pack * • Registration 2) Conference package (non-residential): full rate £150 / student rate £100 £....... (please delete as necessary) As above, but excluding bed and breakfast 3) Day rates: Thursday £20 / £15; Friday £30 / £25; Saturday £30 / £25; Sunday £20 / £15 £....... (ordinary rate/student concession) (please delete as necessary) Day rates include: •* Lunch and refreshments •* Concerts •* Delegate pack •* Registration Individual night’s bed and breakfast accommodatio in a single en-suite room: Thursday £30; Friday £30; Saturday £30 (please delete as necessary) £....... Additional charges for day delegates: Thursday Conference Dinner £30; Friday dinner £10; Saturday dinner £10 £....... (please delete as necessary) GRAND TOTAL £........... Late Booking Fee Please note that there is a late payment surcharge of 10% for payments after Friday 15 June. Cancellation Policy Full Conference Package cancellations received before Friday 1 June will be refunded minus an administration charge of £25. Cancellations received after this date will not be refunded. Payment Details All bookings must be accompanied by this booking form and should be returned to: 20th Century Conference Music Department Goldsmiths College University of London New Cross LONDON SE14 6NW Cheques and money orders should be made payable to "‘Goldsmiths Colleg"’ and sent to the above address. Alternatively you can pay by credit card (Visa or Mastercard only). ...... I enclose a cheque payable to Goldsmiths College £............. ...... I would like to pay by Visa/Mastercard £............. Card number:......................... Expiry date ................ Signature:........................................................